GARAP SINDHÈNAN GREGET PEKALONGAN GENDHING KETHUK 2 KEREP MINGGAH 4 LARAS PÉLOG PATHET NEM DALAM GARAP MRABOT

Utami, Rizki Ainanda (2019) GARAP SINDHÈNAN GREGET PEKALONGAN GENDHING KETHUK 2 KEREP MINGGAH 4 LARAS PÉLOG PATHET NEM DALAM GARAP MRABOT. S1 thesis, Institut Seni Indonesia (ISI) Surakarta.

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Abstract

Thesis of this artwork tries to present and analyze the sindhènan gending with the following vocabularies: Glathik Glindhing, Greget Pekalongan, Kembang Kacang, Ayak-Ayak,Srepeg. The two issues are: (1) how the garap sindhènan in this gending; and (2) why the five repertoires gending presented sequwntially in a single unit garap karawitan?. These two issues are reviewed based on the musical rules of sindhènan, pathet concept, and garap concept, padang ulihan. Research data collected through literature studies, document studies, and interviews with a number of karawitan artist. The result showed that Glathik Glindhing, Greget Pekalongan, Kembang Kacang, Ayak-ayak, srepeg have different shapes and types including: jineman, gending, ladran, ayak dan srepeg. Each of these gending in addition tohaving its own character and rasa driatan also has different diversity of twisted, wiled, and gregel. Specifically the first three repertoar of gending, basically is not a sequence of gending that is intertwined in a single unit garap on javanes gamelan in general. The different characters of the gending and sindhenan are combined in one order of presentation, intended to produce adish, wiledan, cengkok, rasa seleh, tough that varies in asingle musical concert.

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